As virus mutes Dubai nightlife,

Filipino bands feel the pain

Eric Roman struts onstage in his torn jeans and grasps the microphone.

It’s midnight on a Friday and in normal times, he’d hear wild applause from this tightly packed hotel bar
in one of the old neighborhoods alongside the Dubai Creek. Sweaty throngs of fellow Filipinos, Arab
businessmen and mall employees fresh from their shifts would hit the dance floor as he belted out
Journey’s “Don’t Stop Believin’” with his nine-piece Filipino band.

But now the crowds, along with his bandmates, have vanished — in compliance with coronavirus
restrictions that ban dancing and cap the number of musicians onstage. Roman took a 65% pay cut
when his club reopened after the lockdown. Guitarists, bassists and drummers weren’t so lucky.
“Dubai is dead,” said Roman, 40. “Every day we’re wondering where we’re going to get our next meal,
our next glass of water, how we’re going to survive in this city.”

Show bands from the Philippines have long animated Dubai’s nightlife, satisfying an appetite for rock,
R&B and pop that has grown with the emirate’s expat population. Now, as the pandemic mutes the
city’s live-music scene and clobbers its economy, hundreds of Filipino performers are struggling to
survive.

Traveling Filipino house bands burst into prominence in the early 1900s during the U.S. occupation of
the archipelago. Already well-versed in Western church music and military anthems from three
centuries of Spanish imperialism, Filipinos deftly picked up on the latest American music trends, from
jazz to rock ’n’ roll, said Mary Lacanlale, an assistant professor of Asian-Pacific Studies at California State
University Dominguez Hills.

By the century’s end, karaoke was a national pastime. Filipino performers — with an uncanny ability to
imitate Western music legends — became a mainstay in the nightclubs of emerging entrepôts
throughout Asia and the Persian Gulf. Dubai drew legions of Filipino cover bands to fuel its rapid
transformation from a desert pearling port into regional party capital.

“Our music builds Dubai’s reputation as a place that transcends political, racial and geographical
divides,” said Paul Cortes, the Philippine consul general in Dubai, who also happens to be a singer.

An uncertain fate now awaits the musicians, plucked from impoverished provinces to work in smoky
lounges and hotel bars overseas.

“Agents promise you heaven and give you hell,” said AJ Zacarias, a singer-keyboardist and president of
the UAE’s Filipino Bands Alliance, an advocacy group. “We’re some of the world’s most sought-after
artists, and they treat us like garbage here.”

British vocalists can earn close to what Filipinos make in a month, Zacarias said. Managers reserve “the
good hotel suites” for traveling Indian dancers, while Filipinos are often packed eight to a room in
unsanitary accommodations, he added.

“It’s unfortunately the reality of the market. It’s cheaper to hire a band from the Philippines,” said
Ricardo Trimillos, expert in Asian performance at the University of Hawaii.

When clubs closed in Dubai, dozens of Filipino musicians living in dormitories at the mercy of their
employers were kicked out with nowhere to go.

According to the band association, 70% never received their promised gratuity to buy food and other
basics. Some are selling their clothes to survive. Out-of-work dancers, like 33-year-old Catherine
Gallano, have taken to livestreaming their routines — gyrating, backflipping and blowing kisses to
followers who send them money.

The UAE’s Filipino Bands Alliance said some 80% of Filipino artists have had their visas canceled by their
employers, a consequence of the UAE’s “kafala” labor system that links expatriates’ residency to their
jobs.

For the millions of low-paid migrant workers from Asia, Africa and elsewhere that have built up the UAE
as a hub of the global economy, the virus has magnified decades-old abuses like wage theft, delayed
salaries and dire living conditions, said Hiba Zayadin, a Gulf researcher at Human Rights Watch. That’s
especially true for domestic laborers, she added — another precarious job that Filipinos dominate.

When the virus struck in March, Jhune Neri, a 38-year-old singer and stand-up comedian, was trapped
— literally. As a “public health precaution,” he said, his manager bolted all the doors and shut down the
elevator of his crowded dormitory, locking the 11 performers inside for months. Living off just weekly
deliveries of rice and red sauce, the bands pressed on, cranking out renditions of Whitney Houston’s
hits.

“I was thinking, at least I’m still singing, at least still I’m alive,” Neri said.

Weeks later, he was jolted awake by the landlord cutting the electricity and evicting everyone. He’s still
determined to make it in Dubai, though he said most of his friends have “given up hope” and gone
home.

But quitting the city isn’t so simple. Like thousands of other Filipinos, Rommel Cuison, a 30-year-old
guitarist at a hotel bar, has languished for months on a repatriation waiting list, his employer unable to
pay his way and the Philippines unable to quarantine masses of returnees. When Cuison’s cash-strapped
club brought back only solo singers from lockdown, he sold his cherished guitar to afford food.

For performers fortunate enough to have a gig these days, Dubai’s newly resumed music scene looks
very different. Hotels struggle to fill rooms. Partygoers are dwindling as the pandemic hits everyone in
their pocketbooks. Undercover health inspectors patrol clubs and threaten $13,600 fines for violations.
No more reveling into the wee hours — the speakers switch off at 1 a.m.

Marino Raboy, a rock singer in Dubai’s working-class district of Deira, said his club feels desolate. Some
nights, he performs only for the hostesses lined up at the bar waiting to serve pitchers of Heineken.

As the virus continues to surge in the UAE, many expect the hard times to last. Dubai’s live shows and
big conventions, including its Expo 2020, have been pushed back. S&P Global, a ratings agency, predicts
the city-state’s economy will shrink 11% this year, recovering only by 2023.

Roman, with a voice like Journey’s former frontman Steve Perry, said the new reality means fewer tips
and meager pay — not enough to cover the bills for his aging mother and four kids in the Philippines.
Still, he feels he has “no choice” but to hope.

“This is the worst time of my life,” he said. “I have to believe at some point it will end.”